{"id":1104,"date":"2022-11-03T20:33:54","date_gmt":"2022-11-04T03:33:54","guid":{"rendered":"https:\/\/societyforritualarts.com\/coreopsis\/autumn-2022-issue\/?page_id=1104"},"modified":"2022-11-06T22:30:50","modified_gmt":"2022-11-07T06:30:50","slug":"review-tarot-and-divination-cards-a-visual-archive","status":"publish","type":"page","link":"https:\/\/societyforritualarts.com\/coreopsis\/autumn-2022-issue\/review-tarot-and-divination-cards-a-visual-archive\/","title":{"rendered":"Review: Tarot and Divination Cards: A Visual Archive"},"content":{"rendered":"

[et_pb_section fb_built=”1″ _builder_version=”4.19.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.19.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”1_2″ _builder_version=”4.19.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_post_nav show_next=”off” _builder_version=”4.19.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_post_nav][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.19.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_post_nav show_prev=”off” _builder_version=”4.19.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_post_nav][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Top thru Author” _builder_version=”4.16″ background_enable_image=”off” min_height=”250px” custom_margin=”0px||-40px||false|false” custom_padding=”0px||0px||true|false” saved_tabs=”all” global_colors_info=”{}”][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_image src=”https:\/\/societyforritualarts.com\/coreopsis\/autumn-2022-issue\/wp-content\/uploads\/2022\/09\/coreopsis-winter-2019-header.png” title_text=”coreopsis-winter-2019-header” admin_label=”Coreopsis logo” _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_5,3_5,1_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”1_5″ _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text admin_label=”Title & Author” module_id=”author” module_class=”noindent” _builder_version=”4.19.0″ global_colors_info=”{}”]<\/p>\n

Review of Laetitia Barbier, Laetitia. Tarot and Divination Cards: A Visual Archive<\/i> with a foreword by Rachel Pollack. (Abrams\/Cernunnos, 2021).<\/h1>\n

Emily E. Auger<\/span>[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Content Block” _builder_version=”4.16″ background_color=”RGBA(255,255,255,0)” background_enable_image=”off” custom_margin=”0px||0px||true|false” custom_padding=”0px||0px||true|false” saved_tabs=”all” global_colors_info=”{}”][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.16″ background_color=”RGBA(255,255,255,0)” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_image src=”https:\/\/societyforritualarts.com\/coreopsis\/autumn-2022-issue\/wp-content\/uploads\/2022\/11\/61s70kL9HtS._SX389_BO1204203200_.jpg” title_text=”61s70kL9HtS._SX389_BO1,204,203,200_” _builder_version=”4.19.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.19.0″ custom_margin=”||||false|false” custom_padding=”||0px|||” global_colors_info=”{}”]<\/p>\n

<\/a>Laetitia Barbier\u2019s name has become familiar to many Tarot fans and scholars through her Instagram account, her Tarot readings and courses, and her work as the program director and head librarian of the New York-based Morbid Anatomy, a library and museum (founded 2007 by Joanna Ebenstein) that supports an ongoing program of virtual lectures and panel discussions. Barbier has put her Tarot practice and the skills she undoubtedly acquired while studying art history at the Sorbonne to good use in Tarot and Divination Cards: A Visual Archive,<\/i> and Abrams made an excellent choice when they added her project to their new Cernunnos imprint.\u00a0<\/p>\n

Abrams has been paying attention to the ever-rising popularity of Tarot and the growing number of publishers who are finding it worth (a potentially lucrative) second glance. According to their website listings, Abrams first picked up The Antique Anatomy Tarot<\/i> (2019) and The Arcana of Astrology Boxed Set: Oracle Deck and Guidebook for Cosmic Insight<\/i> (2020) by Toronto artist Claire Goodchild for their \u201cAbrams Noterie\u201d gift and stationary imprint. The forthcoming Cats Rule the Earth Tarot<\/i> by Catherine Davidson and illustrator Thiago Corr\u00eaa will be published under the Image imprint, which is dedicated to trends and obsessions in pop culture (2022). Barbier\u2019s Tarot and Divination Cards<\/i>, however, appears along with Cthulhu Dark Arts Tarot from the World of H.P. Lovecroft <\/i>(2021) by Bragelonne Games and Barbier\u2019s earlier Jesus Now: Art + Popular Culture<\/i> (2021) as a Cernunnos title. The Cernunnos imprint is described as \u201ca new publishing house showcasing books that inspire and intrigue\u201d and that \u201chighlights the creative spirit and passion in contemporary art and icons from painters, photographers, fashion influencers, filmmakers, and writers [\u2026]\u201d While this information may all seem a bit beside the point of the book itself, it is vitally important to authors and artists who would rather not travel the path of self-publication. More publishers who are interested in Tarot means more options and more opportunities for these individuals. Sadly, not all publishers set their standards particularly high when it comes to Tarot\u2014perhaps because they are under the mistaken notion that there are no standards in that field. Whether it is thanks to Abrams\u2019s screening process or Barbier\u2019s due diligence Tarot and Divination Cards<\/i> is a credit to them both and will undoubtedly be a valued resource in the field for many years to come.\u00a0<\/p>\n

Rachel Pollack, author of The New Tarot: Modern Variations of Ancient Images<\/i> (1990) and numerous other Tarot-related books, wrote a brief foreword for Tarot and Divination Cards<\/i> titled \u201cIn the Beginning was the Voice.\u201d Pollack clearly thinks Abrams did students of Tarot a service by publishing it and she, in turn, did Barbier a service by finding just the right way to inform readers that Barbier wrote the manuscript in English, which is her second language. Still, one would think that a publisher the size of Abrams could have provided a copy editor to smooth out the occasional oddity in grammar and diction just a little, because \u201cjust a little\u201d is really all that was needed, and because many people don\u2019t read forewords and may thus mistake the extraordinary for sloppiness. Shall we abandon these souls to the gravity of shinier baubles born of careful copy-editing and shallow research?\u00a0<\/p>\n

Tarot and Divination Cards<\/i> has an understated embossed cover and page after page of between one and six thoughtfully chosen color reproductions of each card as well as paintings accompanied by accurate history, and intelligent commentary with notes. The book opens with Pollack\u2019s preface, an introduction, and a short history, long sections on the major and minor \u201carcanas,\u201d another hundred pages on cartomancy and divination games, and ends with a short section on modern Tarot, notes, selected bibliography, and acknowledgements. All of the Tarot and art books released in 2020-2021\u2014is it four or is it five titles?\u2014have something unique to offer, but this one takes the prize for accuracy, clarity of expression, and the sheer quantity of art work of interest to Tarot scholars. Beyond the reproductions of the cards themselves, Barbier\u2019s pairings of non-Tarot art with Tarot will hold both general readers and academics enthralled: a painting of an emperor is matched with Emperor cards, a painting of a pope with the Hierophant card, a painting of Samson fighting the lion with the Strength card, an exceedingly gruesome fresco of a hanged man with the Hanged Man card, and the list goes on to include comparisons and supplementary images that do more than a thousand words to contextualize Tarot imagery. Ever wonder if you were the only person to see a certain affinity between the 3 of Swords in the late-fifteenth century Sola Busca<\/i> deck and David\u2019s \u201cOath of the Horatii\u201d (1784)? Wonder no more: Barbier noticed it and not only lays the visual comparison out for everyone, she also offers an excellent historical description of the painting as substance for interpreting the card (226). She is very careful, however, to distinguish such affinities from direct historical connections. Anyone wanting to know more about any of these images will find that the labels meticulously identify artists, locations, dates, and so forth.\u00a0<\/p>\n

The images, from multiple historical Tarot and related decks, are invaluable for researchers. The section on the Fool alone, for example, includes reproductions of a detail from a 16th-century painting called \u201cLaughing Fool,\u201d and relevant cards from the Sola Busca Tarot<\/i> (15th century), the Tarocchi Fine dalla Torre<\/i> (Bologna, Italy, 17th\u00a0 century), the so-called Gringonneur<\/i> or Charles VI Tarot (Northern Italy, 15th\u00a0 century), the Vieville Tarot<\/i> (France 17th\u00a0 century), the Noblet Tarot<\/i> (France, 1659), the Minchiate de Poilly<\/i> (c. 1712 and 1741), Paris through the Centuries<\/i> (1881), the Visconti-Sforza Tarot<\/i> (Milan, 15th\u00a0 century), the so-called Mantegna Tarot<\/i> (1540\u20131550), Tarot des Imagiers du Moyen Age<\/i> by Oswald Wirth (1889) and, finally, Grand jeu de l\u2019Oracle des Dames<\/i> by G. Regamey, France (1890-1900).\u00a0 Some of these same decks and sources are represented in the other trump sections, and additional examples are included where they have something unique to add to the visual repertoire of a particular card. Most of the decks listed above will already be familiar to Tarot historians and collectors who own some or all the available facsimile editions, but the card arrangements offered here are still likely to be useful to them. They will be essential to students in search of a good grounding in the visual history of Tarot while saving their shopping dollars for more contemporary decks.\u00a0\u00a0<\/p>\n

The section on cartomancy is an unexpected bonus, including an astonishing array of historical playing cards, a section on Etteilla, another on Madame Lenormand, still others on Madame Dulora de la Haye, La Sibylle des Salons, Das Aute Gottes: The Eye of God, and more, all copiously illustrated. Sadly, the chapter on modern Tarot is dedicated to numerous reproductions from a few decks, rather than many decks. At a generous 400 pages, I suppose the bounty had to come to an end somewhere.\u00a0<\/p>\n

With so much accomplished, Barbier remains very clear about her place in the history of Tarot history, as she says she is not a historian on par with \u201cMichael Dummett, Mary K. Greer, Paul Huson, Robert Place, or Andrea Vitali who, among many others, spent decades working on these topics and whose work I admire greatly\u201d (13). These are the authors, along with the \u201cmany others,\u201d that Barbier honours her debt to in her select bibliography and notes. Such an honest and conscientious attitude is noteworthy in this age of internet pilfering and the careless elision of research and copying. Barbier\u2019s contribution to Tarot studies is obviously grounded in a library researcher\u2019s ability to distinguish good sources from bad, and primary from secondary sources, a good university student\u2019s ability to summarize and restate accurately, and a professional artistic and authorial talent for innovative interpretation and the integration of verbal and visual material. Even so, she writes that<\/p>\n

 <\/p>\n

With great humility, I can admit that my work will always be biased. Although I have an academic background, I am a tarot reader, and the poetic eye will always prevail over the intellectual one. For this reason, this book isn\u2019t encyclopedic, either\u2014doesn\u2019t pretend to show the most iconic examples nor the most historically relevant. Curated with the help of my own arbitrary sensibility I\u2019m showing a collection of examples that I find fascinating for their beauty, the originality of their system, or the incredible story they tell. [\u2026]\u00a0 My ultimate intent was to showcase the great beauty and wealth of the cards and make them accessible to a wider audience, whether they are divination card enthusiasts or just amateurs of pretty pictures. (14)<\/p>\n

 <\/p>\n

It is a beautiful statement and one easily disputed. Short of website agglomerations of images or Stuart Kaplan\u2019s four-volume Encyclopaedia of Tarot<\/i>, this book is as much of an encyclopedia of Tarot images as one is likely to find in publication. Yes, the poetic eye makes a great advance apology for any disputes about deck or image selection, but without it there is nothing but a pool of Tarot images that is six centuries deep. The poetic eye recognizes patterns, distinguishes quality, marks the unique and unusual, and chooses or affirms what should be iconic in any given time. It is an ability that can become a skill, not an expression of short-coming or limitation. Limitations are what happens when book binding technology maxes out at 400 pages and only one volume is published instead of two. The poetic eye is what chooses the contents that will be meaningful within such required limitations.\u00a0<\/p>\n

All in all, Tarot and Divination Cards: A Visual Archive<\/i> is a worthy companion to Kaplan\u2019s Encyclopaedia <\/i>and Pollack\u2019s The New Tarot: Modern Variations of Ancient Images<\/i> (1990). Prospective or veteran explorers of the visual history of Tarot can choose no better anchors for their study than these volumes. There are other valuable books on the subject and there will undoubtedly be more in the future, but as visual resources supported by accurate and useful text, these mark square one of the visual history of Tarot.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Content Block” _builder_version=”4.16″ background_enable_image=”off” custom_margin=”0px||0px||true|false” custom_padding=”0px||0px||true|false” saved_tabs=”all” global_colors_info=”{}”][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ header_2_font=”Eczar||||||||” global_colors_info=”{}”]<\/p>\n

References<\/h2>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text module_class=”reference” _builder_version=”4.19.0″ custom_margin=”||||false|false” global_colors_info=”{}”]Kaplan, Stuart. The Encyclopedia of Tarot<\/i> Volumes I (1978), II (1986), III (1990). Stamford, CT: U.S. Games Systems.<\/p>\n

Pollack, Rachel. 1990. The New Tarot: Modern Variations of Ancient Images<\/i>. Woodstock, NY, The Overlook Press.[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

Laetitia Barbier has put her Tarot practice and the skills she undoubtedly acquired while studying art history at the Sorbonne to good use in Tarot and Divination Cards: A Visual Archive, and Abrams made an excellent choice when they added her project to their new Cernunnos imprint.<\/p>\n","protected":false},"author":2,"featured_media":1176,"parent":0,"menu_order":9,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-1104","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nReview: Tarot and Divination Cards: A Visual Archive - Coreopsis Journal Autumn 2022<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/societyforritualarts.com\/coreopsis\/autumn-2022-issue\/review-tarot-and-divination-cards-a-visual-archive\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Review: Tarot and Divination Cards: A Visual Archive - 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